Theatre blog + Film industry | The Guardianhttps://www.theguardian.com/stage/theatreblog+film/film-industry
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To beam or not to beam? How live broadcasts are changing theatrehttps://www.theguardian.com/stage/theatreblog/2015/may/06/effects-of-live-satellite-broadcasts-national-theatre-rsc
Screenings from the National Theatre and RSC serve a vast nationwide audience – but what is their effect on regional and touring productions?<p>The audience for a single <a href="https://onscreen.rsc.org.uk/">live broadcast of a Shakespeare production by the RSC</a> is about the same as the audience for an entire year at the Royal Shakespeare theatre in Stratford. That’s according to the RSC’s deputy artistic director <a href="http://www.rsc.org.uk/about-us/our-work/erica-whyman.aspx">Erica Whyman</a>, who was speaking at the recent <a href="http://britishtheatreconference.co.uk/cutting-edge/">British Theatre in Hard Times</a> conference. “The upside is so massive and the exponential reach so great that we can change who the audience is,” said Whyman. But she also sounded a note of caution, and added that it is crucial for both the RSC and the National Theatre to navigate some of the questions raised by such broadcasts. One (small) idea in the pipeline is for a trailer to be shown before the broadcasts, to remind audiences that there is live theatre in the vicinity.</p><p> <span>Related: </span><a href="http://www.theguardian.com/stage/theatreblog/2014/jan/17/digital-theatre-live-performance-stream-nt-broadcasts">Why digital theatre poses no threat to live performance</a> </p><p> <span>Related: </span><a href="http://www.theguardian.com/stage/theatreblog/2014/jan/20/live-theatre-screenings-elizabeth-freeman">What live theatre screenings mean for small companies</a> </p> <a href="https://www.theguardian.com/stage/theatreblog/2015/may/06/effects-of-live-satellite-broadcasts-national-theatre-rsc">Continue reading...</a>TheatreStageCultureNational TheatreRoyal Shakespeare CompanyArts fundingArts policyFilm industryFilmWed, 06 May 2015 07:01:07 GMThttp://www.theguardian.com/stage/theatreblog/2015/may/06/effects-of-live-satellite-broadcasts-national-theatre-rscPhotograph: Tristram Kenton/GuardianRalph Fiennes and Indira Varma star in Man and Superman at the National Theatre in London. The production is sold out, but will be beamed to theatres, arts centres and cinemas around the country on 14 May. Photograph: Tristram Kenton for the GuardianPhotograph: Tristram Kenton/GuardianRalph Fiennes and Indira Varma star in Man and Superman at the National Theatre in London. The production is sold out, but will be beamed to theatres, arts centres and cinemas around the country on 14 May. Photograph: Tristram Kenton for the GuardianLyn Gardner2015-05-06T07:01:07ZBlack Swan: does it matter if Natalie Portman didn't do all the dancing? | Luke Jenningshttps://www.theguardian.com/stage/theatreblog/2011/mar/30/black-swan-natalie-portman-dance
The controversy over Natalie Portman's dance double reveals the culture clash between Hollywood's colossal budgets and the underfunded world of ballet<p>Feathers are continuing to fly over <a href="http://www.imdb.com/title/tt0947798/" title="">Black Swan</a>. Darren Aronofsky's movie, for which Natalie Portman won an Oscar, is about a ballerina losing her grip on reality as she prepares to dance Swan Lake. Portman took ballet classes in preparation for the role, but <a href="http://www.abt.org/dancers/detail.asp?Dancer_ID=103" title="">Sarah Lane of American Ballet Theatre</a> has claimed that she did the actual classical dancing, which includes pointe work. Her face was then, it seems, digitally replaced by Portman's. Lane, who worked on the film for more than six weeks, was also used for the full body-shots and just-the-legs shots.</p><p>Lane was not credited for her work as Portman's dance-double, however, nor was she on the<a href="http://www.youtube.com/watch?v=AuEi1_HdNu4" title=""> longish list of people thanked by Portman</a> in her Oscar acceptance speech. In addition, she was suddenly and spookily deleted from a video circulating online which showed the face-replacement special effects used in Black Swan. In the online Dance Magazine, journalist <a href="http://www.dancemagazine.com/blogs/wendy/3733" title="">Wendy Perron wrote </a>of a "blackout" and a "propaganda of omissions" relating to the ABT soloist. None of this surprised Lane, because by then a Fox Searchlight producer had called to ask her to stop giving interviews until after the Oscars. "They were trying to create this facade that she (Portman) had become a ballerina in a year and a half," she said. "So I knew they didn't want to publicize anything about me."</p> <a href="https://www.theguardian.com/stage/theatreblog/2011/mar/30/black-swan-natalie-portman-dance">Continue reading...</a>BalletDanceStageFilm industryBusinessFilmCultureWed, 30 Mar 2011 14:54:19 GMThttp://www.theguardian.com/stage/theatreblog/2011/mar/30/black-swan-natalie-portman-dancePhotograph: c.FoxSearch/Everett / Rex FeaturesBlackout ... Some have accused studio Fox Searchlight of downplaying the role of Natalie Portman's dance double in Black Swan. Photograph: c.FoxSearch/Everett / Rex FeaturesPhotograph: c.FoxSearch/Everett / Rex FeaturesBlackout ... Some have accused studio Fox Searchlight of downplaying the role of Natalie Portman's dance double in Black Swan. Photograph: c.FoxSearch/Everett / Rex FeaturesLuke Jennings2011-03-30T14:54:19Z